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74 pages 2 hours read

Ceremony

Fiction | Novel | Adult | Published in 1977

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Pages 193-244Chapter Summaries & Analyses

Pages 193-244 Summary

At Ts’eh’s house, Tayo discovers that Ts’eh knew his cattle were coming and has trapped them so they couldn’t escape again. Tayo mistakenly believes the hunter is her husband and is worried the hunter might learn of her sexual encounter with Tayo. Tayo and Ts’eh visit the cattle, and he discovers they’ve been maimed from abusive ranching practices. He entrusts Ts’eh with the cattle and leaves to get help packing up the cattle. Tayo returns with Robert to find Ts’eh’s home abandoned but the cattle well cared for. In Ts’eh’s bedroom, Tayo finds a shield on the wall that was not there before. The constellations from Tayo’s ceremony are painted on the shield.

Tayo returns home with his cattle, and his mental health is dramatically improved from his journey. Auntie Thelma is highly suspicious. She suspects Tayo will regress into his trauma and self-destructive behavior. Tayo does not see Ts’eh again for a long while. He grows lonely and misses her. Rescuing the cattle has ended the drought, and conditions on the reservation improve. Tayo eventually meets Ts’eh again, and the two begin living together on her ranch while Tayo tends to his cattle there. Tayo realizes that his uncle’s dreams are finally coming true.

Tayo and Ts’eh perform ceremonies to draw his journey to a close under a cave painting of a mystical elk, A’moo’ooh. Ts’eh warns Tayo that his ceremony isn’t over yet: The destroyers want to ruin Tayo’s recovery and ensnare him again in witchery.

Emo has learned about Tayo’s life on the ranch and spreads rumors that Tayo has a mental illness, lives alone, and believes in magic. Emo gathers up the reservation elders and brings army doctors to town to take Tayo back to the veterans’ hospital. Tayo prepares for Emo’s arrival and wants to confront him. Instead, he is picked up by Harley and Leroy, who want him to go drinking with them. Tayo refuses, relents, and panics. The alcohol and fear cause him to pass out. When he comes to, he finds himself deserted in the truck in a strange place: Harley and Leroy dropped him off in the middle of nowhere for Emo to murder.

Tayo discovers he is in an abandoned uranium mine, used to produce the nuclear bombs dropped in World War II. As Tayo looks for a way out, he realizes that the mine is a ceremonial site for the destroyers—a place to conjure the destruction they crave. Night falls and Tayo watches as Emo, Leroy, and Pinkie arrive in the mine and look for him. Harley was supposed to keep an eye on Tayo; since he didn’t, Emo has decided to torture and kill Harley to lure out Tayo. Tayo wants to kill Emo and knows he easily could since the other man is very drunk. However, Tayo realizes that the destroyers only want “a victim and a corpse” (233). By restraining himself from violence, Tayo wins the struggle for his story and keeps himself from witchery. He crosses a river back onto the reservation at sunrise, completing his ceremony.

Hummingbird and Fly deliver the tobacco to Buzzard, who cleanses the town as promised. Corn Mother reappears and brings the storm clouds back to the people. She warns them to stay out of trouble and reminds them that “[i]t isn’t very easy / to fix up things again” (237).

Tayo tells his story to the elders in a kiva (a round meeting room used by Laguna Pueblo people for ceremonial and meeting purposes). The elders believe Ts’eh is A’moo’ooh and that Tayo has been blessed. They believe Tayo will meet her again. Afterward, Tayo returns to his life with the cattle. Emo’s mental health quickly deteriorates, and he is banished from the reservation for life after killing both Pinkie and Leroy.

The novel ends with an extended verse prayer that marks the end of Tayo’s ceremony. Tayo offers up his story to the sunrise as a show of thanks.

Pages 193-244 Analysis

Tayo’s story begins and ends with an invocation of the sunrise, underscoring that change, transitions, and liminal spaces are important concepts in Ceremony. Embracing change is in fact key to Tayo’s success, and not merely because the ceremony that saves him requires Adapting Tradition to the Present. Rather, the novel’s cyclical ending and opening embody the renewability of life and storytelling, which is antithetical to the destruction of witchery—whether the genocide and environmental degradation of colonialism or the stagnant experience of Alienation and Isolation in Post-WWII America. Tayo’s ability to adapt to his trauma and contemporary life is embodied by his prayer to the sunrise, which marks the completion of his ceremony.

Tayo’s struggle to keep his story out of the grasp of witchery requires a commitment to nonviolence. Tayo has been committed to nonviolence since he deployed. In fact, it was the belief that one of the soldiers he executed was Josiah that sparked Tayo’s PTSD. This hallucination haunted Tayo into the present day, and he could not make sense of the experience. While struggling with his desire to kill Emo in the mine, Tayo realizes that violence is all witchery wants: It wants “a victim and a corpse” (233), no matter who the victim is. Refraining from violence is therefore an act of resistance against the destroyers. The violence of theft and war took Rocky and Josiah from Tayo. By knowingly refusing violence, Tayo confronts the roots of his alienation from himself and his community.

When Tayo crosses the river at sunrise after the climactic action in the mines, Hummingbird and Fly’s story comes to an end as well. The parallels between the two stories reinforce The Power of Stories as well as the importance of adapting traditional stories to suit the modern world: Tayo’s path echoes the beats, obstacles, and characters of a story far older than himself. The story offers guidance and structure to Tayo’s existence, suggesting that storytelling is one of the few ways Tayo can make sense of his life.

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